Northern Junket, Vol. 7, No. 3

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Articles Page

South Pacific Summer ...... 2 Say It Ain't So 11 People To People, Square Dance Style .... 13 National Square Dance Convention 17 Armstrongs Going To FAiroper 25 Mrs Aquino's Visit to TJ.S A 27 letter From Tony Sal^tan 28

Yeqr End Camp . . 3§ I.F.M.C. Meeting 34 Figure It Out 36 Square Dance - Ladies Stay Home 4l' Contra Dance - 3yster River 42 Polk Dance - Cshebogar 43

Polk Song - Jack Was Every Inch A Sailor . • 44 Painless Folklore 46

Square Dance Weekend ...... 49 Pood For A Winter Day 50

SPECIAL AMOIHCBtSNT

The 1961 Jnter-collegiate Polk Festival will be held on Saturday, March 18, I96I, at the University of New Hampshire in Jurham under the sponsorship of the Dur- ham Reelers . Further information from Miss Ann Milli- gan, Smith Hall, U.NJI. Durham, N.H.

5JS $ # # * # Jji 5j« * * * * * * * mm

JflflJ-JflSJ SOUTH

PACJPJC ;

: hj: .HUGH THURSTON i> U J A J A £ J \

I spent the first half of last summer visiting New Zealand, viaPigi and the Society Islands. Ealph has asked for an article, so, writing for the first time as a tourist rather than as a serious student and very much envying the literary abilities of people • like Dr. Schultz, who really can write, I begin my tale.

There are two sorts of dancing in New Zealand: Maori and Scottish. Rather odd, perhaps, in a country which prides itself on being more English than England but certainly I found no English dancing there and nor had several Hhglish people whom I met in the Scottish groups. Though Square dancing flourishes in Australia, so much so that they have developed a brand of their own, in New Zealand there is as little as in Scotland.

Much of the dancing is just as one would find it in Scotland: they have their Caledonian clubs, their Royal Scottish Country Dance Society branches, their summer schools and week-end ; courses . But there are also one or two unexpected things: a -Imall village call- ) ,

J ed Motueke, little more than a couple of sheep farms, miles from anywhere, with a dance group of the size one expects in a town of about 100, 000' -population, for example. Or a group in which one of the best dancers is a Maori. Or a full-fledged Scottish ballet.- plot "' by Shakespeare, with the Montagues and- the •• Capulets transformed into the Campbells and the MacDonalds, and the choreography, put, together from various- Scottish country and highland dances, the highlight being the "street fight" scene, modified from the sixteensome reel. The Hew Zealanders have' in the past few years &e vised some Scottish dances' of their own, one, called "Lincoln Assembly" by Janet MacD.onald of Christchurch, is most attractive, (it has nothing to do with a^it.omo- bile manufacture: the title refers to an assembly at Lincoln College.

Maori dancing is fascinating. ' It has 'no resem- blance to our :• social dancing: there is no such thing as a "partner", for instance; and perhaps the best description of some of it would be "rhythmic games". The Maori's are an extraordinarily rhythmic race-. This shows up in their style of movement (even when walking) in their language, and, above all, in their singings Their really old songs were almost pure rhythm-, having little more melody than an intoned prayer in a high church service. After contact with the pink race (it must have been someone color-blind who called us the white race), they took up with ' enthusiasm some of our Victorian tunes, singing them in their own style and to words of their own, with improvised harmony, and with a powerful staccato rhythmic .bass by the men. So not only can one hear a Maori choir sing a song called "Te pataka", which turns out to be "I'll Lock My Heart > And Throw Away the Key", but in some of the apparently most typical Maori songs one can detect snatches of "Little Brown Jug" and "Rolling Home".

The women have many action-songs: they simply il- lustrate the words of .the song in rather an abstract fashion with certain stylized hand and arm movements arranged and practiced, beforehand, so that all do the same movements at the same time. Closely allied to these are the poi-dances. A poi is a small ball of bull-rush fibre on a few inches of string. The women twirl these around, very- fast, bouncing them off their arms or bod- ies on the back of the hand or (if they are useing only one) the palm of the other hand This is most impressive; the music is usual ly fairly fast, all the women are in unbe- lievably accurate rhythm, and some very, trivky rhythms are set up. More graceful and probably more difficult, is the long pjoi, in .which the string is a couple of -feet long. The movements are slow, but often very intricate. One particularly fascinating one consists of the following movements, as nearly as I could follow:

1. The right hand poi is swung horizontally clock wise until it hits the body and reverses. 2. It swings anticlockwise, but the right hand is raised so that it does not hit the body but swings

.... clear above ,.the r head,.. turns, complete circle above the head, 3. It a s

4-5-?-&«> The -:,--right*".".. hand is lowered so that ^ is the e^me -as 1 but reversed. Then 5-6 follow like 2-3. When -one right hand poi reaches stage 3> the left hand

poi l u arts at stage 1, so that all the while one poi is going up while the other is going down.

Another, impressive movement is to take both poi's" in one hand.and swing them in vei.tiiml circles in oppO' site directions.. A. skilled performer can then take a third poi in the. free hand. I heard that in the old days only, princesses were supposed to. use the long poi but I wasn't, able to .confirm this. Another women's rhythmic game is the stick-game, already described in previous issues of NORTHERN JUNKET.

The .men have, of course", "the famous haka; and although it is,.as vigorous as befits a war-dance it is a controlled vigor. Rhythm, not mere muscle, is what makes it so impressive - aided by the flexibility of

the Maori face - a Maori 'seems to be . able to put his tongue out tv/ice as far as anyone else.

- /» The men. also have a rhythmic if" , game in the /form of a competition. Mpl? There are lots of different versions c$M&i but the principle is the same for all v p3?5 there are three permissible movements: " ~~>- they might be perhaps (l) knock the clen- ched fists together, (2) place the palms of the hands together, (3) cross the hands at the wrists. There are two competitors, and, usually, a rhythmic chant. Let's suppose you and I/are players, and I am "in first". We ( or perhaps the bystanders) set the chant going, and we start making the movements in time with the music, one .>-?-/ on each beat, in any order we choose. -S^_ My aim is to make the same movement as you; and as soon as we make the same movement at the same time, I have won, and .you score the -nuirber of movements made up to- that time. Then it is your turn "in", and so on, , JThe re was a very exciting competition between two Maori law students at Qtago "University, done

without a. .chant, . in which they shouted louder and loud er and skipped and leapt around the room as the game pr ogres se&-,' ; until- anyone listening would have thought they were having a rhythmic brawl.

The Maori costume is very like that of our (i.e.

B'.C'sv Washington's and "Alaska's ) Indians, except that it is made of "native flax" (i.e. phOrmium) fibre instead of shredded cedar-bark. In olden times it con- sisted of a skirt only, with a dog-hair or kiur-feath- the er cloak for cold" weather.. ; Nowadays, of course, - * women wear also a bodice (if that is the right word perhaps some female reader' will correct me if I'm wrong) in the same style.' a' few of the older women still wear the female chin tatoo, but the all-over tat oo of the men has completely died out.

The Maoris seem' to have lost the use of their old musical instruments, which are to be found only in mu- seums and sound, so I'm told, terrible. Most of their ?Tn nxn if^- 1».-' a

;a..^- . ..-^

singing is unaccompanied,- though they will occasionally u^e a piano or a guitar.

The dances Of Fiji are surprisingly like those of the Maori's, when' one considers that the Fijians are of an entirely different race - black complexion, black fuzzy hair, negroid faces/instead of the brown skins, black but straight hair, and more European faces of the Maoris and other Polynesians, $hey ; don't have the sticks and the ' pois, and the girls sit 'down to the action songs, and the men's war-dances are so- ,los or duets rather than a display. en masse, but the general..type' and atmosphere are very similar.

And now for Tahiti - paradise of the Pacific etc. etc. etc. About a third of what you've probably been reading about in "Holiday" is true, but unfortunately that doesnft include anything: written there about -the dances. .The Society islanders are, of course, Polyne- sians, like the Maori's, and look very like* them, but their general: culture and behavior and economy" is I because they live quite different-. .Mainly, . suppose, in- a tropical climate. A Tahitian can live with v»?ry

little effort. fBread-fruit , taro, coconuts, yam:i, sweet-potatoes and bananas seem "to grow about by themselves, and fish are so plentiful that though fishing r (which is done with nets or with spears, not with rod and line) is work, it is not hard work. The Tahitians have been much less affected by European ways than the v 7 Maoris have: for instance, a Maori will no' more wear his (or her) native costume on every day occasions than one of our 'American Indians will; whereas in Pa- peete, the only town Of any size in Tahiti or indeed on any of the Society Islands, most of the women wear Jthe pareu; which 'is a piece of brightly patterned cloth wrapped around the 'waist to form a short skirt, pi -us - a 'modern innovation - an extra garment like the

top part of a "Bikini" bathing . cos tum

same material. Outside' the '" Ji own some of the men and nearly all the women wear the pareu (sometimes without the extra garment)* Most ..of the. hotels and restaurants will include, some native fiod in the menu - principal- ly raw fish, which is' quite delicious, especially if you qLon', t inquire what, it 'is' "until after you have eat- en it. Another delicacy. is. suckling-pig, which tastes as you would expect: like pork, but tenderer and of a more delicate, flavour.. ,

For dances, the Tahitian's put on the. old ceremon- ial dress ,, This is made almost entirely of raffia. The men wear a short skirt, a cape over .their shoulders

coming down to about waist level, .and head-dress. ; In each hand they carry a kind of whish of raffia which serves, like the Morriss dancer's handkerchieC, to show up 'their arm movements. Occasionally a few flowers or sea shells- decorate the costume. The raffia is usually undyed, but some villages dye it bright yellow. The music is entirely percussion - drums and wooden gongs - fast, furious and staccato, beautifully controlled/but a very straightf orward rhythm with noth-

' ing of the tremendous rhythmic subtlties of ' African

fas ^

§ 8 drumming. The basic step is performed as follows: the dancer crouches a little with knees projected forward through his raffia skirt, and waggles his knees in and. out, very fast, in time with the music. There are also running, hopping, and quick little kick ing steps, all fast and • usually staccato. .There, are fast hand movements, and, because the men usually dance en masse, and because of the drums, the whole affair is rather like army drill - arms drill without rifles. One of the arm movements is so like a salute as to add to the effect.

The women have much less variety, and their dancing consists almost entirely of their basic step which is a waggle of the. . ...well, to be frank, of the] but t ocks fr am s ide to s ide . Thi s s ounds s imple enaugk, but then so would a description of the .pigeonwing (waggle the toes from side, to side).; or of high-cutting (beat one foot twice against the other leg). It all de, pends on how it is done, and. the Tahitian waggle goes twice as far and three times as fast as one would think possible. It -sounds rather crude, perhaps even a little obscene; what saves it; from this and 'turns it artistry (admittedly primitive artis- into a -piece of . try) is the raffia skirt. The women's skirt is longer tjbari the men's, almost reaching the ground, but the main difference is in- .the girdle. The fibres which make up the ^women's skirt hang down from a wide belt which is slung .low_ rourtd ^the waist, in much the. s&me position, as a .cow-boy^s; gun belt. It is usually si3fc inches or so deep,, beautifully ; woven or plaited, and decorated with flowers or -sea shells,; which are always beautifully matched and arranged" to form rosettes and- other symetrical patterns. (Many brightly-coloured and fascinatingly-shaped shells can be found in the coral reef). The costyme is completed with a necklace of tropical flowers and perhaps some flowers in the hair. (For public performances, like those in Papeete during the l4th of July celebrations, most teams add an extra garment, of course, which may be made of raffia to match the skirt, or may be the garment from the dancer's everyday clothing, or may even be the sort of .

9 garment from which the sensitive male <•"->/*

averts his eyes when passing certain ,. - y«s shop windows) /'/""( (f \

There seem to "be four main dan- "\\ ces in the Society Islands: aparino,, ii'j himene, otea, and pane. I didn't get ( \\ to know absolutely for certain which niti was which, partly because I don'.t speak If. . I l _

Tahitian, and' some of the dancers are A \\-., less fluent in I am, even French than but A V; 'mostly because everyone I asked was so helpful that,

they answered my : questions whether they knew the an- swers or not. And the dancers tended to think that to know the name of a dance was slightly eccentric; rather, as 'though' one were to go up to a modern ball-room dancer and start inquiring about the history of the waltz. So please bear in mind that the following might not. .be completely accurate.

The himene is a dance of ... greeting. There is not much movement^ and the dancers chant the lines of one of their village legends, in time with the drumming.

The.aparino is the One'"which reminded me of army drill. It is mostly danced by men, perhaps about 30 to 40 at once', drawn up : in a* 'solid square. It is a mass dance rather than a formation dance: the men do move in certain steps but it is the square as a whole that .moves.. There is nothing like a reel of three or grand chain, and the dancers do not touch each other as they would .have to do to form circles or stars. Sometimes women dance the aparino, but I never saw men and women together in it.

The otea is danced by two dancers at a time, ..The dancers squat in a circle. A man and a woman get up, and the rest start to chant, sometimes also clapping, in rhythm with the drums. After a bit, one, or both is replaced by another dancer, and so it goes on.

The paue is danced by everyone. A circle of couples is formed, each dancer facing a partner, the men 10 \*

s^&A& n:aJ/^

facing out and the women in .-They start with the basic step, and then move on a few paces clockwise., the women walking but keeping up the waggle, and the men with sharp kicking, running steps. Then more basio steps, and so on. The dancers usually like to invite the audience into this one.

-:i. The dances are mostly done by torchlight, and for the paue, the torch bearers and the band gather into the center of the circle. When one of the Matson li- ners called, the tourist bureau- arranged a daylight display for the benefit of .photographers, and though it lost some of the impress iveness given by the torchlight, I could .see more closely what was going on.

. ! have been looking up descriptions of the Polyne sians by early travellers and by anthropologists, and I. find that there have been volumes written, about their agriculture, carving, religion, etc. but no more than the briefest mention of their music and dancing, and not one single description of a dance other than the Maori stick game (which is described in the New. Zealand Girl-Guides song book as well as in Northern Junket), So, if anyone has six months or a year to spare, a good- deal of patience, a tape recorder, a movie camera, and a reasonable amount of physical dex- terity, here is a chance for some really worthwhile research. .

SAY IT 3>

AIN'T so^

L : :::- • V*:ij^>; {r^-'\ri.:---«;

' by STANLEY McINTQSH .•' -p^^rX. fM~£:

"•Please- say it ain't so - But is square dancing in New England deteriorating to a dangerpusly low state? Each summer- we pop up- to your neck, of the woods,

t o study the dances of the area "vis i ted , . Each year

' less' and 1 e's s s quare dan c ing . The -.young f Ik d on t - "dig" it, and the elder folk (parents) do not seem to- care... In many of the dance centers, the tendency and emphasis seems t o "be the "western" influence k. » • . ;Is this good for New England? ••-". :."" --•i.r

f- Now, I notice three things. Many of the Inns . of er square dancing as a means of entertaining guests but hardly a local movement. This is good. Many of the local public' dances' are rowdyish and somewhat- seclu- sive .in that the "nice" people do not • attend them. This is bad- both for square dancing arid New England. (¥. Arlington, Vermont, and the Eitzwilliam area of

N .E, notable except i ons ) . ,,

The native leaders seem inclined to 'advancement' and are accepting styles foreign to the New England tradition. This I would consider bad. You are discar- ding a folk heritage - developing a pseudo-sophistica- tion and creating a necessity for "higher education" rather than just fun for" dancing.

In the days of Herb Greggerson (Texas) there were only a handful of "Traveling Callers" - today the 12

stars seem like the Milky Way. This may be good but it is a hardship to the good local caller who is doing his best. This local caller should be encouraged rather t lan be set aside, for a "Name" with 'innovations 1 different in name only to similar olcRtlme figures. The Hew Bnglander should know better and recognize ad- ulteration.

New Sngland should be proud 'of its dance heritage and not be so willing to supplant it with : a^ foreign adaptation. Fortunately, some leaders are working with children and doing a simple native-type dance. Eut tnes.eare far too few. More Youth projects could- be sponsored by Civic Groups - such as the Men's Club in Melvin Village, N.H. Thus, vacant halls would see life again and many a wandering juvenile taught a more use- ful purpose. Perhaps the £olk and Craft groups in New England have thought of this - wish they would do more for. a native New England custom. Widespread good local participation .rather than a "large" festival is necess

- - -. - • •,..-•:. -.; , . ary. . .,.. .. : r

I do not mean the "Ten Weeks Course" system here; In the self-written glowing accounts of Club Systems and Classes, is not more being lost than gained? Old- Masters, such as Ed Larkin are gone - could not a mem- ory of these be a lesson - to. dance for fun and simpli t city, rather than a higher education. When learning is applied to fun something must give. Thus, fun seeks^ its pleasure elsewhere. Could not present-day leaders be just real folk again, instead of contemporary show-.: offs and bring real square dancing back to New England?,

As mentioned before - "please say it 'ain't so" -?- and prove it. ' ' K

_.W.,.V---; : -v^^^

PEOPLE 10 .PEOPLE SQUARE DAHCE STYLE

What would -ypu-do if someone asked you, on Monday to call a square .' dance on Saturday for seven ty-five Swedish men? Tell' them you're busy?

We : had such a request recently. We scheduled the dance early, before a special "late-date" dance', and got busy asking for extra women, who needed only to be able to walk! Our square dance friends helpfully brought relatives and neighbors, and we were in business I What a wonderful opportunity to show American

friendliness, • dancing with our Swedish guests ; to show

that music, laughter ^- dancing, know no- language barrier

You ask, "How do you call a square dance for people .who do not speak English?" It is not too difficult. We have, fortunately,- had a little practice-., for six years., calling square' dancing for .foreign men training here, with the Census Bureau. "It is not too different from calling, f or novice Americans;,: but requires more

' ~;; '"• patience. •

Simply knowing how to call square dances is not enough.. This is a; special- field. The. leader must have a repertoire of" "figures and dances that are easy and fun to do. He must have a large selection .of, records covering a variety of types of music; ho must know 3 4- - something about-. . teaching and programming how o use progression of figures, how to lead skillfully* Jut we will not take, space here to go into the complete sub- ject of calling for novice groups.

What we would like to treat her© is just' that phase that has to do with the first ten or fifteen minutes. This, is the most critical period of any dance,

hut more >. especially of dance programs^; for novices.

Anyone -who has had experience with novices will agree that once people. ,-.are on the /floor, out of their chairs, the rest comes easy. But how to get them there? This is a selling job. At this point, one's selling a- bility (aren't we all salesmen?) is, more important than his calling ability. let's analyze this, taking our non-Tfoglish-speaking Swedish men as an example.

We know there is the language barrier. But that

shouldn't bother us too much, because "all emande" , "do

si-do" ,; would not be understood by. Americans either, the first time they heard the words! And think how many times you have heard callers use too many words..

We know that srfai® things are universal, and more

important than words. ... Smiles and laughter are universal. Did you see Red Skelt.on's decent TV performance before the United Nations delegates? It was a master- piece, a demonstration of the universality of humor and laughter. This principle means, then, that the caller wears a great big smile. He puts on the best show he can to develop an atmosphere of friendliness, brother- hood, courtesy, a positive, electrifying atmosphere that says "We're all/friends" . "It's not hard, you'll like it", and "Trust me".

Universal' too, is marching, walking, moving to music. Someone has said "Music is a universal language" So let's play this up for everything it is worth. You . ,

should have seen oiir Swedish guests flock ,.-^ . y on the. floor. when their national dance, JFT i*5*^. the Hambo, was played. They came alive, :W'£7y-\*'y+*l and we were friends . S %\'V~,;"jr'>'^V-/

Music is not only for dancing. Appro- ^'M^'.v'vf priate music, played for background and pt''7,U" ,."':''7 listening before* we start, or at inter- ••. ^''tm^v?*'*'/ , , mission, includes ballroom, folk music, ' /(;||w^

or call C'.,' popular melodies singing rec- ^^t<^v:sK'/ '!- \ oris , phrased, and unphrased hoed owns , '^^K^i-M $—2 march music,., Scottish music - - c. |)

Knowing all .'these things, you can de-vise your own system. There is a great deal of satisfaction in working with novice groups, non square dancing groups. Here is an outline of the system I used to get our .guests, -dancing quickly. (This, is very flexible, and the exact dances would. vary according to. the group and

.•'•• ..',.. occasion) -. - V

1. For background and atmosphere, I played Duke of Perth, an My- .-.Scotland, Capitol L£ record, before I

. . . said anything...... ,' .-"'.. .

2. With music playing, softly,, sent the ladies to get Swedish partners , and encouraged all to join in a

" - circle. • , -. ..-.'-.

3. Led the circle-: in easy circling movements, including the "watch spring". (Sometimes I lead the line over the stage, through another room, or outside and back). By demonstration, with few words, got them to circle, and promenade.,

4. Did an easy circle mixer that added hand clap, hand shake ,-. and do-si-do (without .. naming .it yet), us- ing Cumberland Reel on the My Scotland record. Several times we asked them to introduce themselves to each other.

5. Got them into sets by marching four abreast, 16 then eight, and having the eight join hands to form a square.

6. Did an easy square dance (Four Little Sisters),

7. Ended this before they got tired, while they were still having fun.

8. Asked them to "socialize", get acquainted,, make new friends. Played the Swedish Hambo, and ball-, room records during the break.

Note: In this first fifteen, minutes I used only conversational Siglish: I did not say "do-si-do",, or

"allemande" . I did not use traditional figures such as, "Chase the Rabbit, Chase the Squirrel", or "Dip and Dive", which requires explanation.

After , this .first fifteen minutes you couldnH tell who were Swedish' and; -who were American. We all f r m had a good time. What a wonderful satisfaction f ov. all of us to see our friends, our new friends, from across the sea have a good time.

But we don't have to look abroad; there are many potential square dance friends here in America. Learn to lead novices skillfully, so that they become 'enthusiastic about square dancing.

•;:,;,. . EBEN JENKINS (National Capital Square Dance Bulletin v9n6 l/6l)

..-,'. . SQUARE' YOUR SETS

A Magazine For. The Square And Folk Dancer

Distributed Free Of Charge Four Times A Year '

Editor: Ray Olson P.O. Box 262 Moline, Illinois p ^

IMP3-— ^V/' ^ 5^

•NATItNAL SQUARE DANCD COFTINTI 3N" NEWS RELTASS #3

The -following is an excellent example of "'unpaid advertising"- ; that is sent -by the National Sq-uare Dance Convention chairmen to every sq-uare dance magazine in the- country. It happens to "be an "excellent account of whatr goes on' behind the scene's before any city is "giv en .the honor" of hosting the National Squa re Dance Con vent ion. .Perhaps other publicity chairmen of like or similar events will get ideas about how to write* news releases.,' etc. for their own -festivals. That is the only reason that we print it". R^P.

There is usually an interesting story behind any effort to bring a group of people together for a convention. The case of the 10th National Square Dance Convention is no exception. Actually, the original thought regarding a Detroit Square Dance Convention was broached 7 years ago (195^) at the Dallas, Texas Convention.- At that time the idea was dropped due to

the lack of adequate . facilities in Michigan.

However, there were facilities being planned with

a tentative ; completion date' somewhere between i960 to

1962. ... In 19.58, the Detroit Convention Bureau advised that such a convention might how become a reality as 18 the completion of facilities could now be tied down to a definite date. They contacted the Michigan Square Dance leaders Association, who were instrumental in forming a small committee of 7 persons, to meet with representatives of the Detroit Recreation Commission. These people included, Carl Bloch, Harold Iirickson, Chuck Kopta, Betty Lloyd and Orie Rowland, The meeting with the Recreation Commission was to solicit their co-operation in staging a convention, if it was decided to put forth a bid.

Betty Lloyd arranged this meeting with John Consi dine of the Recreation Department. At this meeting it was decided that the Recreation Department would as- sist in any way they could, including an offer of as- sistance in obtaining facilities. The actual location of the convention, if the bid was successful, was to be Cobo Hall, on which work had ^then started,.

After the co-operation of the Recreation Depart- ment was assured, the next step was to obtain a list of interested dance groups". This was done through the

; co-operation of the Michigan Square Dance Leaders Asso ciation. From these contacts an idea of the backing forthe cming from the various clubs was obtained. The response was more than satisfactory, and the decision was finalized to' make a bid for the convention.

Even at that time, in order to assure a booking at Cobo Hall, for any time within the next several years, it was necessary to obtain a tentative reservation. This was done none too soon, as it later turned out. .The first informal meeting of a temporary Plan- ning Committee, was held November 9, 1958. At this time a decision was made to form a council among whose duties it would be to submit a bid' for the 6l Conven- tion. Those present included the same people- forming the small Committee mentioned earlier.

The first formal 'organizational meeting was held January 25, 1959. At this meeting the Michigan Council of Square and Round Dance Clubs was formed. Also an Ex ecutive Committee was 'elected. The first cxMer of busi ness was a. decision to submit the formal bid for the 6l Convention.

The next meeting on February 8, -1959 "was held to announce the members of the Executive •Committee.. This Committee was as follows: Harold Srickson, President, Carl 31och, First Vice President, Conrad Dahl, Second Vice President, Ruth Jacques, Recording Secretary, $et ly Lloyd, Corresponding Secretary, and 3ernard Smith, Treasurer. The next item on the agenda at this meeting was the election of officers for the 10th Anntal Square Dance Convention, if Detroit was Successful in obtaining, the award. The members of this Committee are now listed on the back of all Convention stationery. Harold and Lota Srickson were announced" as General Chairman......

It was necessary to work fast at this time as a bid for the Convention had to be submitted to the Na- tional Committee ..on or before. April 15th. Chuck Ivopta was- elected Bid. Chairman and given the responsibility -for seeing that the bid was drawn up and submitted through proper channels before : the due datei .]';. Shortly thereafter the first general meeting was Detroit Recreation Genter. .held, at . O'Shea, a large Present were square and round dance group delegates from the entire Michigan area. The co-operation offer- ed "by this group was" everything that ' had been; expected, and the Executive Committee felt that if the "bid for the 61 Convention were successful, we would .probably ;.have one of the largest, if hot the. largest .conven- held. tions yet ;

In view of the competition always present at these contentions for future convention sites, it was of the utmost importance that an outstanding presentation of Detroit ! s bid be made. 3ur competition .for the 6l Convention was from Miami Beach, Florida, and las "Vegas, Nevada. These towns are well equipped with high powered organizations for attracting conventions to their locale.

A large delegation of Detroit dancers, including members of the Executive Committee, planned on attending the Denver Convention. At this Convention, held .May 28th, 29th and 30th, the results of. the bids for the "6i Convention "would be anhpuhced.

We will tell you in the next issue, how. the presentation was made and give you the inside scoop on how Detroit's bid was successfully consumated. Be on the lookout for this interesting, and enlightening in- sight .into what it 'takes to obtain this plum.. of square

' dancing. .".'..'"' •

In the meantime, send for your application so you can be -present at the grand finale, to bq. staged in DE- TROIT, MICHIGAN, JUNE 2£tfo)-30th, ^an&^JULT 1st, I96I. 21 For applications, write to Box 2314, Detroit .31, Mich- igan. DO IT TODAY! '%M^tMt%@M :p^s News Release # 4

Here we are again, continuing the inside story. of how a successful bid for a Square Dance Convention was

made. With the competition • for the bidding being" as keen as it was for this' extremely desirable- convention, it; was necessary that 'a real fine job of selling De- troit be made to the National Committee'.

With this in view, some several months before the Denver Convention, ~a group of Detroit dancers ', at the suggestion of Chuck Kopta, decided to -stage' an exhibi- tion at Denver. /This was" to be part of a square dance Denver Con- pageant , planned, by Dorothy Shaw, for the vention* .•'."

The Detroit: dancers planned. to represent an important point of history, in the revival of square dancing in the United States, after this form of enjoyment had practically' died out, in the few decade's immediately' before 1920. This revival was instigated to a great extent, by the late Henry Ford's overwhelming interest in all things pertaining to Early American customs and lore. Mr Ford constructed the beautiful as well as famous Lovett Hall adjacent to Greenfield Vil- lage and Henry Ford Museum in Dearborn, Michigan. ^This hall was named for the late Mr. Benjaman Lovett who Mr Ford personally picked as the leader and teacher of his Early American Square Dance revival. About this time a very famous book, "The Good Morning Book" was . ,

22 published by Mr. Lovett, under Mr. Ford's sponsorship, outlining all of the Early American dances which had by this time practically died out. The book contained complete instructions, diagrams and music for many of the beautiful quadrilles, rounds and contras of an ear lier era.

Lovett Hall became the center of this Early Ameri can dance revival. Mr Lovett taught a number of interested young men in the intricacies of this type of dan cing, with the view of having them became qualified teachers and callers for an ever growing group of folks interested in this style of square dance.

The enthusiasm generated, resul- ted in new groups and clubs spring- ing up throughout the entire area. It is honestly felt that this movement material ly aided in the revival of the almost lost art of square dancing in America.

The group volunteering to put on this demonstration in Denver cons is ted of four' sets ." They practiced dil-J> igently for a period of several months to become letter perfect in all of the graceful maneuvers inherent in this style of dance.

They performed several dances '®k^4^3

including varsouviennes , schottisches and CS-uJ gavoy/tes, before a large number of spectators at Denver, this as part of the pageant, depicting the history of square dancing from its earliest days Tto the present time

The consensus of opinion was, that this exhibi- tion, with all of the men in evening dress and all of the ladies in exquisite- full length formal gowns, was one of the hits of the show. It undoubtedly contribu- ted a great deal to the final decision, giving the 61 oqup""^ Dance Convention to Detroit. 23

Another very important contribution to Detroit's success was a picture of Cobo Hall, that was provided by Stan Kenn, our square dancing photographer, and which was taken to Denver for Submission to the Commit tee responsible for the decision. This picture was in the form of a large, mural and was indeed a very impo- sing piece of "advertising. ' :

An additional item that very much impressed the 3id Committee was a large map of the entire Michigan area, showing locations of all square and' round dance clubs within a 300 mile radius of Detroit. A great many complimentary statements were made in connection with this very professional presentation, which was the work of Chuck Kopta, Harold Erickson and John Bren nerman of the Detroit Convention, and Tourist Bureau.

As is Usual at these conventions, • the name of the future' convention winner is announced publicly on the last night of the 'convention, a Saturday, at 9:00 o'clock. There was an "interesting sidelight in connection with the winner's, announcement. The Michigan dele gat.ion were instructed to locate themselves on the floor near the s-peaker's platfcfrm, ready for a demonstration, should Detroit prove themselves to be the successful bidder.

wer'e;;: re;a;dy to; really 'whqop fit" if they : up, heard the right announcement made. To say they overdid this, is putting it mildly.

The announcer . on the platform began to call out the names of people, asking them to come up to the platform. The first name called was "Lota". Before even her surname could be announced, the Detroit delegation had their cue, and immediately put on such a noisy demonstration, -that the. rest of the announcement including Lota T s last name, was never heard by anyone in the hall, except .the man making the announcement. There is some doubt, even today, as to who really got

this Detroit Convention.* Lota or. Detroit. .. .

Harold and Lota Erickson, and all of the other Michigan area people who attended this convention and put on such a wonderful display of dancing and other eyecatching exhibits, are to be thanked for their tru- ly remarkable efforts

The energy that generated this announcement-deaf- ening howl, has continued unabated, with the result that to miss this convention, will mean that you are missing out on one of the finest parties it will ever be your priviledge to attend. SEND NOW TO BOX 231^, DE

TROIT 31, MICHIGAN for your APPLICATION I

As a footnote to the successful conclusion of the bid for the 10th National, we would like to advise that an entirely new area of dancing was evolved on the airplane trip made by 10 of. the Detroit delegation to Denver. The Koptas , Davises, Ericksons, Phyllis Pear son, Betty Lloyd and John Brennerman, formed a set on the plane, and with Al Hards calling, danced a tip while flying at 20,000 feet. This will probably be the "highest level" ever attained by square dancers until we get. dancers on the moon. An affadavit signed by the pilot of the plane was obtained to prove that these folks were indeed -iLOODBUSTERS . An official group has now been formed with the proper insignia. We under- stand that this Cloudbuster tag is one of the rarest badges in all square dancedom.

• • TH71 MIDW1ST DANCER

A Magazine Of "Round -- And Square Dancing

3l4K Cumberland Parkway

Des Plaines , Illinois

Monthly Except July & August

Single Copies - 25^ Per Year - $2,00 ttmumimiim .

AfliMTMMf

Word from the Don Armstrongs of Port Richey, Florida, tells us: '• "We are' very exeitei about our European tour and want to share it with you. After two weeks in Ontario, the first' half of Janizary, we arrive in New York on Jan. l6th. Terry Lynn, our 12-year old daugh-

" ter, will fly up from ' Tarapa-'to meet us there1 and" the three of us will "take off "from Idlewild at '8:30 p.m. for London, on the first leg- of a nine-weeks calling tour abroad. We have a Yolkswagon station wagon wait- ing for us in London, and will deposit in it all the slip bags, record bozss, extra coats, and loaded pur- ses we carried in our arms on the plane and not worry about * overweight until we start for home again. We " will stay in Great Britain three- weeks and will conduct workshops for the English Folk Dance and Song So- ciety in four cities, for the University of Nottingham, ^he British Ass ociation >of American Square Dance Clubs, the Callers Club of Great "Britain,, and several indepen dent square dance clubs 26 In Glasgow, we will appear on Scottish Television Ltd. Terry has an appointment to meet the Sheriff of Hotting ham and we will also "be guests of the Scottish Country Dance Society. Between engagements we plan to visit ser eral of the historic landmarks and, of course, see the "changing of the Guard",

We will get to Paris about Feb. 10th, and on the 12th will conduct a workshop and dance for the Paris Squares and IJtoile Sights. These of course are U.S. military personnel, so the only language difficulty will be with Marie's southern accent, but out on the town we hope to find the phrases we have been studying sufficient to help us find the places we want to see. From Paris we go to Spain and there we will conduct workshops and dan ces for military-based square dancers in Zaragoza, Mad- rid and Seville. pf special interes't to us is that we will be visiting in 'the home of- Lynn and Millie Mixer in Madrid; Lynn and Millie were attending Dixie Insti-

tute in Atlanta^ ;the i same; year j that Don[ met :M^rie. They have promised us some lessons luthe Sardana,- the natio nal dance of Spain, but we will be too early for bull- fights. From Spain it's on to Casablanca, Italy, Switz- erland, Austria and Germany with more of the same - calling, teaching, sightseeing. In' Germany we will visit with Jane Farwell, -well-known recreation leader from c Wisconsin, who now lives in Ostfriesland. •

Our last stop will be in Longuyon, France, which prom- " ises*to be of special interest for Don, as it is with an HCAF square dance club, and as you know* Don was with the RCA'F in World War 11.

We leave Paris for- home March 17th, and as soon as we get- to Florida, Terry goes back to" school and Don and Marie have to take off immediately on a Western U.S. and Western Canada tour.' We get home from that about the first of May - just in time to get ready for the

' summer. -—

! —

Dear Members,

We are back at Tufts University in Medford, Mass. This is the earliest we've been, March 3, 4—but we hope, the best. If you're new with us—WELCOME!

In Exhibits—besides English, Irish, Swiss, Greek, Latvian, we've added U N I C E F this year.

In Foods—we've added Chinese, Siamese, Jewish, and American Indian to our

list of English, Lithuanian, Syrian, Greek, Scottish—all promise a Main dish—dessert —and an inexpensive, but filling, something for the kids on Saturday afternoon.

There will be time for you to eat before each session starts! !

In Crafts—something new—egg decorating! besides our silver—rug braiding ceramics, etc.—come and see.

In Dance—exotic temple dancers from Bali and dances from Japan, native American Indian dancers from Rhode Island. Along with the Scots, English, Chinese, Swedes, etc. Of course, some of these are children's groups for Saturday afternoon.

The Workshop is—as always, on Sunday, March 5th, starts at 2.30; ends about 9.00. It has THREE good leaders and it's for members only—JOIN NOW!

John Bremer, from New York city, giving us a program of English dancing from the north of England—a new area for us.

Herbie Gaudreau, from Holbrook, giving us some modern contras.

Dick Crum, our Slavic expert, studying at Harvard, filling in with simple and fun dances from his collection.

There will be a simple supper at a nominal fee about 6.00 o'clock, to give you a chance to refuel and get your second wind. When you receive your program

please read it carefully. We try to have all the info, you will need as to time and place of all events. BECAUSE—there will be a general sing and a general jam session tucked away somewhere. So—bring your voice and your instruments.

There will be general folk and square dancing for all and a session for the kids on Saturday afternoon.

Doors open 6.30 Friday 12.00 Saturday afternoon 6.00 Saturday night

Admission $1.00 for adults 50^ for youngsters up to and including 14 years HAVE FUN!

Publicity Committee 1961 M. A. Greenhill presents

Saturday 8:30 P.M. February 4 John Hancock Hall Berkeley & Stuart Streets Boston HA 6-3680 MAIL ORDERS NOW $3.50 $2.80 $2.20

Checks payable to Folklore Productions

AliDONlA!

The Singers and Dancers

of Scotland

ANDREW MACPHERSON, DIRECTOR 1 Founded by Andrew Macpherson, CALEDONIA! has had a meteoric rise to popularity and success in Scotland,

where it has become a household word. By popular de- mand, The Singers and Dancers of Scotland were invited over two years ago to present a special television program —and, ever since, they have been regular favorite in that medium throughout Great Britain.

Music and dance are skilfully interwoven throughout the program. All regions of Scotland are depicted: the Border, the Southern Uplands, the Lowlands, the Highlands and the Hebrides. Choral singing will range through many moods, from gusty humor to deep pathos, culminating in a series of songs and ballads known to everyone and cele- brating the Scotsman's deep attachment to his land and its traditions. ALIDOMA! The Singers and Dancers of Scotland

There will be a "Tribute to Robert Burns" and among the larger dance sequences "The Duke of Perth", "Rouken Glen" and "Ubhi-Abhi" of the Highlands, accompanied by the "mouth music" of the chorus.

Andrew Macpherson, artistic director of CALEDONIA!, comes from the heart of the Robert Burns country. He was born in Newmilns, Ayrshire, and showed great musical aptitude from a very early age. By the time he turned twenty-two, he was already serving as organist and choirmaster of the local church. A major development in his career occurred when he received a scholarship at the Royal Scottish Academy of Music, where he studied singing under the great Handelian

bass, Francis J. Harford. With the completion of his studies, Macpherson embarked on an operatic career that brought him success all over Great Britain and appearances with many of the leading conductors. His great love, however, remained with the music of Scotland and its related folk arts. The creation of The Singers and Dancers of Scotland realized one of his dearest ambitions, now amply confirmed by the enormous popularity enjoyed by the company throughout the land.

EXCLUSIVE MANAGEMENT albert morini ... W. 57th ST., NEW YORK, N. Y.

PRINT i 27

: •S -- f.: • ;»• »"£> tHi

An exciting folk dance project of the coming year of 1961 is the tour of the outstanding 'authority on Phil- ippine folk dances, Mrs. S. Aquino. Word just received from the International Recreation Association states that Mrs. Aquino will be in the United States from March through August, 1-961, and will be available for 1, 2, or 3 day workshops as well as for folk dance camps. Information concerning Mrs. Aquino's schedule and fees for workshops or camps may be obtained by writing to Mr Tom Rivers, International Recreation As- sociation, 3^5 Sast ^6th St. New York City.

Records and directions for the dances Mrs. Aquino will teach will be made available. There is nothing like learning your dance material from an original source. This is a rare opportunity to have this distinguished lady do a workshop in person. Mrs. Aquino has a way of imparting her tremendous knowledge of Philippine dances to a group in a most enjoyable manner. Her delicious sense of humor makes it a joy to dance "With her.

She will be on the staff of the Maine Polk Lance Camp in June, and at Oglebay Camp in West Virginia the last of May. Washington and Boston group's' already have asked for her too. Since her tour must be arranged in a way to ma,ke it less tiring for Mrs Aquino, and less ex- pensive for. the sponsoring groups, we need to know immediately, and 'by all means before the end of January, what groups or camps would like to have her on their staff. Give the dates, hours and alternate date, in case your first choice is already taken. To expedite matters please send letters in duplicate, one to Folk Dance House, 108 West l6th St. N.Y.C. and the other to Mr Tom Rivers, International Recreation Association, 3^4-5 East ^6th St. N.Y.C. nan nor, pp 28

From Tony Sale tan .on world's tour

"People, to People" ,pr ograiii , . sponsored by. the U-.S,- .Dept. *pf. State'.

Taunggyi, Btirma Urid of i960 Bits of. I960Y-

A party at .the headman's., house in a small North

Borneo village; the, rule,. : getting up to Join the dance involves acceptance" of as much "home-made liquor as the

elders offer... ,< .....

' Duets with. Mrs. Sukarno," the First Lady of Indone sia, ^, charming person and an enthusiastic singer of

folk songs......

Arriving in Singapore car Chinese ¥ew Year, taking long Walks., "dodging" fire-crackers which blast 'through the night. .'•

"Singing for the Queen of Malaya "a song with some verses especially written forher in the traditional panturi verse form. '.-.-..theii'' visiting a village in the

northeast, where 'eight-year Old' boys : improvised in the' same form... ,c' —'-"--" ""'

'Walking through Hue ' the ancient , imperial . capi-."

tal of' Viet-nam. . . i'.a star-sparkled night' on the quiet,' Perfumed River eating food out of dishes washed in the' river. ... .vended by women and girls rowing small boats, feeling that the slater dysentery was worth the exper- "••'.'"' .'.: ..' . . ience. . . .

Trying a few Chinese phrases with, children of the street on a return t-o Hong Kong, and finding it possible to break through the shyness barrier- by reciting a simple, well-known Cantonese children's jingle.,. .

. . . 29 . The playing of the -rhythmically exciting, harmon- ica-like bamboo tube khaen -on Laos, and the improvised moulam courtship verses...

Singing a friendly, flirtatious Cambodian so&g to young women construction workers near Angkor Wat, and their amaaement and my delight that we could communi- ca w6 • . •

Dancing the Ramvong and seeing Likay folk Theater in many cities and towns in Thailand. . .and in Bangkok, doing & royal command performance...

The beautiful, high, cool city of Taunggyi, capital of Burma^ Shan States, visiting with long-time friends, the Nasb.es planning to journey .through south and western Asia and Africa to the U.S. ...

The end of a Hindy prayer: shanti, shanti , shanti

peace , peace , peace «OOO0OOO00O0OO»0000OO0M0O00O00O0000O00O»0000000«0it00O

Be Informed - - Read

AMERICAN SQUARES '

The Magazine Of American Folk Dancing

Completely. National - -Founded 19^5

News - - Dances - - Articles - - Record Reviews

And Many Other Features Of Interest To - Square & Round Dancers, Lead- ers, Callers Everywhere

$2,50 per year (12 issues)

Write for Free Sample Copy :•-•.' Arvid Olson, Editor 251^ -^ 16th Street, Moline, Illinois

Hl»H»0HII«Hil»0flO»000O!IIOO00iO0OOOMOOOfiOO00

CAhiP

We are writing this while still in a state ;f Euphoria engendered "by the eighth annual Year End Camp held at Keene, F.H. which once again lived up to its reputation as a place unrivaled for its food, fun and good fellowship. Enjoying the four days were some 83 campers, most of whom were full-timers.

Those who arrived on Thursday, December 29th, in the midst of a •howling snows-torm, found Keene T s Mason- ic Hall full of melody and- song, what with four young French-Canadians gathered around the piano. Andre Ar- senault and his. sister Marguerite, Jacqueline Fortin, and Roger Watier not only set a lively precedent, but continued to contribute a great deal to the camp during the time they were able to remain. Andre practical ly shook the camp apart with a couple of French-Cana- dian squares at the, Friday -afternoon folk dance class.

The meals were literally •* out-of-this-worli" and we doubt if anybody lost much weight .during their stay I

31 here. First night supper featured several Creole deli- cacies, including, daube , a delightfully seasoned pot- roast, and as nice a pecan pie as you'd find in New Orleans. While speaking of foods, it's worth mention*-

ing that a . number of new recipes were tried out at this camp with resounding success. In particular, the Sunday noon meal - Armenian - aroused approving com- ment with its lahma.j oon and patlijan , the first being delicately spiced lamb served upon pancake-like bis- cuits and the other being crisply fried eggplant. Oth- er meals were built around such themes as Scandinavian, Russian, Yankee and Hungarian.

It's well known that Ralph Page runs a relaxed camp...... we wonder, though, how relaxed Ralph himself was, this time. Although it didn't show, he must have had a few worried moments. Just before camp began, it was learned that Dave Rosenberg had been in an automo- bile accident in the nations 's capital, and was hospi- talized. Calls for help revealed that Marianne Taylor was teaching at the Folklore Village Festival in Wis- consin; that Conny Taylor was in a hospital; that the Hermans could come for the first day and a half but all flights out of New York were grounded and couldn't get here. .. (later word has it that both Conny and Lave are doing well, and recovering nicely). To top it all off, songleader Mickey Vandow's mother phoned 'in the news that he was in bed. with a bad case of laryngitis; and Dick Crum was delayed in St Paul, leaving him un- able to make connections until the next day

' .'. f^ !••/ -

KCfl t-cjjfrb TJ

Such a breach in leadership might have caused real trouble -in another situation; Ralph, wisely, turn ed it into a challenge and an opportunity, with the re suit that a number of campers came forward ani contri- 32

tj.ut.ed their talent toward, making the camp a success; JF<h Mattison a:id Pr.iscilla Ravmond arranged to -meat -Dick Crum. as his train arriyed'T-rBoston and drive ..niir

to .Zeene, where -he arrived ^uot. in. time, to teach Pent > zali and -Ca la.IJsa C'ortului to, the. Jriday afternoon class.;. Joanni Blank,, .formerly a ....singer with ..the FoIk:-

.smitns, left her apron. , in the kitchen and took out her

guitar to lead the. s.ingsong sessions; Joe. 3iund-ori,- :..Bo:Li Sacks, Dave Briigfram,r'IjOUise. Winstonf and Andre. Arseii-

ault taught . s ome -of their- ..favorite, dances , and. everyone in general, pitched in. to take up the slack.

Thus what might have been a disaster became a sitioation where- r-v in a friendly, even familial, feelA ingwas quickly, established'. This ' "Pi^<

: atmosphere wa s aided also, by the ; decorations that Ada Page had. made; pictures of folk cos t-umes. and ethnic .groupings dotted the walls, colorful paper cutouts festooned the ceiling and a huge, ornamented evergreen Christmas ball domin- ated the proscenium arch. The mistletoe spot-" ted here and there helped tool

As do all camps, this one had its share of high- lights and hilarious moments. Some, of the best of them .occurred, not at the Masonic hall, but at the Ellis and Colonial Hotels, where most of the campers stayed. We never did find out all of the. details behiud the collapse of Verona Linnell's bed, but it must have ta-

ken quite an after-party-party to do it I The auctions were enlivened by the selling of several room keys; Dick Crijm was forced into paying an astronomical sum in order to get his own key back, but we won't reveal who it was that bid him up. Ralph too, was not immune, and had to pay a lot more than he intended to to get back his pajamas that Rod Linnell sold as "yard goods".

' Cil Raymond, Joani Blank, Marj Harper, Rich Castner, arid Barbara Simonovich discovered a group of Greeks, early New Year's morning, in a 'nearby hall, and s-> had the priviledge -of enjoying the exuberance of their dan cing to the pounding rhythms of an orchestra especial- ,33

ly imported for the: occasion £rsim Nashua, which played : many and many a Srytos, Hasapikos, and the like.

Speaking of live music, Ralph gairethe campers - a treat by having h&s own orchestra play for square and contra dancing on Friday night, Al Quigley, Gene Gober * and Buss Allen on fiddles, Johnny Trombley on the pi~

r ano,. Jack O'Connor on the banjo, and Ben Polichnowski on the bass ma.de as wonderful dance music as you'd ev-

: er want to hear anywhere; they were very much apprecia ted. Ohe of* their best-liked tunes of the evening was one that Ralph himself wrote, and that Don Messer soon m - -is to record. . .

- < . . • i

• . the 8 . ... What with the patterns established during year-end camps that' have taken place, and the many vet •eran campers who return each year, the occasion takes

on the guise ..'of .a /reunion or a friendly get-together J j more than it "does' 6f an orthodox school or workshop. As one couple left, we overheard them say that "It's not what we -expected at all; it's been more as if Ada and Ralph were holding an open house and asked us to come help all have a good time."- And that's a pretty

good summation of the way we all felt 1

• Rich Gastner xoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxo

' ; " • THE ROUNDUP

' FOLK DANCE INFORMATION ." '...'.

PUBLISH"!) BY'THIU FOLK DANCE p-'lXTRATION OF MINN. IMS OF MIHNTSOIA AND SURROUNDING TJSRIT.ORY

•$2,50 per year

' Box 5^25 lake St. P.O. Minneapolis, Minn. Xox ox oxoxoxoxoxoxoxoxoxoxox oxoxoxoxoxoxoxoxoxoxoxoxoxo

'< .•;•• : M£ ' •"•>. 3&&. ' -P 34

.I.F.M.C, MXBTING

Farther word has been received concerning an important event on the 196I calendar. This is the l/J-th annual conference of the International Folk- Music Council, to "be held at the Universite Laval, at Ste. Foy, k miles from the center of Quebec city, in the province of Que . "bee, Canada. The dates of the conference are from Aug.

28th' through Sept . 3rd* I96I, timed to. dovetail with the 8th congress of the International Music ological So ciety, to be held in New York., N.Y. from Sept. 5-Hth.

Daytimes will be taken up. with the business of the con ference, which this year will center around the themes "Comparisons between the music and dancing of the various national and racial groups of the Americas and that of their respective homelands", "The present _ state of Amerindian folk music", and "Folk musical instruments of the Americas".

Other planned activities include two receptions; an ex cursion to Chutes Montmorency followed by a performan#3 of folk dances and songs in Hkiglish and Gaelic; a concert of chamber music based, on Canadian folk music; a bus excursion to Indian Lorette near Quebec, with a visit to the reservation,"" 7 the Huron, -7 Chapel with its historical relics and the ¥aterfaH" : 'of the Great Ser- pent, and a performance by a group of Iroquois from the Niagara Peninsular; a trip by steamer up the St. Lawrence; an orchestral concert of Canadian music ba- s'ed'upon folk theme-s; a 'trip to Petit-Cap on the Beau- pre Coast with supper, and an evening with French-Cana- dian folk singerSjxfi^ddlers and dancers, etc. etc.

We urge all N&TH^f7JUNKET readers to bend their efforts to attend'^th'ls.^CcQnference, since it is literally a once-iii-a-lifetime-"' opportunity to participate in an important international event, that is within very rea . , I

35 sonable traveling distance for many. Expenses will be most reasonable: registration, including membership in the IMC, will run around $7,50; accomodations in one of the university's student houses will cost only $3,00 per night, with access to a cafateria next door.

For further information write Miss Renee Landry, Cana- dian Folk Music Society, National Museum, Ottawa, 3nt- ari o , Canada

, JULAjUUUUUL''.- -; i--UL-UL&UUUUUUUUUU -^UL>L-LuU^UUUUuLjL'L>UUL'.J-:LiL'UULji. Innnnnnrnnnnrinnnnnnnnnrtt^rir^

VILTIS

A Folklore Magazine In It You Will Find

* Folkl oris tic Background Of People And Dancing * Ethnic Activities And News * Dance Descriptions And Book Reviews

•'.'you learn sammim -new in each issufe YOU CAN'T AFFORD TO BE WITHOUT IT

*• Three .dollars per year of SIX ISSUES

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''Man's mission here upon this earth"

• " * Said one Mahatma Gandi "Is.not. t.o simply speed the pace" To him we pass the candy

Pat Pending 36

.***»

mV>s/rt \}p

^-CaMm^M fit -iSMks

by ED DURIAGESR

"Those who WILL not hear, (MNOT hear. Figure it out"* Confucious didn't say it but he might have.

Why such a title to an article?; Simple. It means

that the great percentage of callers . following the

' shooting-for-the-moon' type of intricate and nightmar ish form of square dances have an open ear for- those who compliment them on their so-called ability to 'throw the floor', yet cannot even remotely hear the plea of the average dancers who want a return to the dances thay can thourbughly 'enjoy* There must be a rea son for this. Yet if we attempt to find a reasonable reason we always arrive at the same conclusion. . .EGO*

Let us look at a few well-known facts that even' the 'die-hards' will admit to: •.

'graduates,' 7C$ automatically 1, Of , the beginner ; drop out. Out of an hundred ," that leaves thirty.

2.. Of the intermediate 'graduates' bOp for one reason or another drop out. This leaves twelve.

3.. After these twelve have entered clubs their . .

37 square dance life expectancy is afcout 2 to 3 years.

From this we can see why we do not hare, as some would like us to think we have, tremendous numbers of square dancers

Now many of you readers are going to disagree very violently to what has been written; don't until you read on. Please know that I. am NOT against clubs but rather against how they have, in the past 10 years or so, taken it upon themselves to wreak havoc with square dancing as a whole.

let us look for a moment at square dancers who have never heard of this new form of square dancing - and they are in the greater majority by far - and have been sq-uare dancing since they were old enough to un- derstand the calls.

1. They have no beginner,- intermediate or club groups

2. They go as a matter of course and never have t-o be afraid of missing a couple of dances and being left so. far behind as 'new' figures are concerned.

3. Square dancing is an integral part of their social life.

*K The dances they attend are NOT 'closed corpor- ations', where their ability is challenged prior to their attending. They come to enjoy themselves with their family and neighbors and D9.

For these four reasons square dancing has kept a- -live despite what has been happening through the efforts of some who-- want to take credit for .creating something that was there before they were born.

•;....• The number of potential square dancers leaving square 'dancing -due to frustration, ridicule, inability to keep, up with the expenses of costuming and friction .between club members will never be known.' All^we know is that hundreds of thousands have left. and that callers follow the line of "They who tflLL not hear- C&MT3T hear". And we can follow' this up with stating that

just as long as. they . listen to those who pat them on

the. back, they never will. . Ego is a horrible thing. •Many of you recall .Dp Lloyd (Pappy) Shaw, who was" one of the leading exponents of square dancing. During the last six years of his life he implored callers and dan cers to return to SIMPLICITY. His 'reward? He was TGNOR ED by those he was proudest of. They kept on their 'merry 1 way.

Square dancing has suffered and will continue to suffer just as long as a minority group insists on making it something that only THEY can enjoy; something they think separates the men from the boys. How utter- ly SILLY.

Square dancing is 'folk dancing. Folk dancing is the dance of the people. Therefore it is the .PEOPLE'S

dance and # NOT the plaything of the few.

My particular business is square' dancing. I tra- vel nine months of the year instructing physical .educa-

. tors,, music and classroom teachers, recreation leaders, youth and adult' activity leaders. I am in. very close contact with callers and dancers of every area -of the country. I know and respect their problems as they have. given them to me. " I "am. happy to say that I have been instrumental in '-'helping a' great number regain their 'lost 1 dancers .' I can quote the names of cities >c that have lost over 9C4- of ' their clubs and are STILL losing. Let me give you the facts of a certain city that formerly boasted Of being the Square Dance Capit- al of the country. Fifteen years ago they bragged of #^ having S\ percent of their population square dancing. An audit of their club rosters showed that the average couple belonged to as many as FIVE to SEVEN clubs. This brought the actual percentage down to less than 1$. Today. they have only ONE of their original clrV callers left. Their percentage has gone down to l/l8th of 1$, Who is kidding whom? Look around at your own area and see how many of those you started square dancing with, a number of years ago, are still dancing.

There can ALWAYS be a very happy solution to ANY problem, IE they who WILL not hear, WILL hear* Ve all want square dancing to live whether it be open dances or club dances. I am not a 'fuddy-duddy' who feels that changes should not occur. ANY form of activity MUST change if it is to keep alive. It is the change process that must be watched. The. moment it' becomes the 'tail that wags the dog' we are in trouble. Each and every area has • traditional dances. Dances that have been enjoyed for many, many years. The moment that these are thrown out in favor of new , New NEW dan ; des we have lost part of our folk culture.' No one, in their right mind wants this to happen. Yet a few will tell you that these dances are 'decadent' and that the REAL square dancer wants to be 'challenged'. NONSENSE! A bit of challenge is always fun but too much of it be comes a mess. I like hash - but not garbage. It does separate the men from the boys. But It .is the men who realize that what once used to be enjoyment has turned into just the opposite. And being men of mature minds they let the boys play with their toys and wreck them beyond repair. 4o

May I give a few suggestions that have helped quite a few areas?

1. Each month invite friends in and introduce square dancing as a form of absolute recreation. No teasers . ....

2, Have a contest to see how many traditional con tra, square,- progressive- circle and. waltz quadrilles were done in your own area.. Have a special night reser- ved to do them. You will have FUN...

5. Do not allow- minority groups to run things.'

4. Get hack to the spirit of FRIENDLY-gatherings'.

5. -Make it a FAMILY and COMMUNITY affair . Always remember that "Not only the family that prays together stays together,, but also the .family that PIAYS together RESPECTS each other"..-.,....

6. Try desperately to have those 'who WILL not hear.-. : .'. .HEAR.> .•-•'

xoxoxoxoxoxbXoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoXOx

'' -•, • DANCING. A POPULAR SPORT

. According to a recent poll,. . an estimated 3'2, 000, 000 of

America's 100, QQO, 000. adults enjoy dancing. ' That is- just one million fewer than enjoy swimming, and the-

'' ' same- number as like to. go- fishing. •

About 20,000,000 of these dance lovers spend money, on; it ," according to- the National Ballroom Operators Asso- ciation, and- the annual amount they pay is $40,000,000 ,';';' to $50-, ooo ,000. .,/._ • ' ; ' ,---.-. : : '..... international ^Musician ::

Wouldn't it be wonderful if half of these were square../ dancers? R.P, .-.•:..

xOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOxOx m\)AR£lD^^CB

IASIES STAY HOMB

Suggested music - Any reel or breakdown you like Any intro. breaks and ending that' you prefer

Head lady and the opposite get go forward and back Forward again and do- si -do Go back home and swing your own while the Side two couples ladies thain (over and hack) Seconal lady ancj ifhe 'opposite gent tfee same Hea«L tw« couples ladies chain 3 * Third lady and the opposite gent the same Side two couples ^ladies chain

Fourth lady and the ^opposite gent the' same •» s The head two ladies chain - * Right hand to your partner, gents stay home * The ladies grand right and left around .the 'ring

Meet your'' partner", *' turn., half way round arid Ladies grand right and left' the' o\ther way home All swing partners and promenade her home 1 Head * gent and the o'pposi.te lady^ f6rward> aiid back

* ' Forward again, "right elbow reel , Go home, left elbow reel your partner Second gent and the opposite lady the same

Third gent and the opposite lady the same « Fourth gent and the opposite lady the same. All reel partners ' * * * Right hand to partners, ladies stay home The gents grand right and left around the ring Meet your partner, turn half way round and Gents grand right and left the other way home All swing partners and promenade her home

if <<=>,- SI 1-i 3 S 4< B •2 i\kCW&M Ufc CONTRA DANCE

OYSTER RIVER

From the Nancy Shepley, Pepperrell, Mass.,.MS. (DANCES 55 COTILLIONS & C3NTRA DANCES). Early 1800 l s

Suggested music "Douglas Favorite Hornpipe"

-- - 1 . >G6Uples; 1-^-etc active Bo NOT cross over 4^ m

Top three couples .balance, and .pass through Balance again, pass. -through place ' .to '] First couple down the center ^'." Same way back and cast off Right hand star once around with 3rd couple Six hands once around Left hand star with 2nd :CoupI$ once around 43 OTJJl:DANe£

OSHEBOGAH - Hungarian

<_•,-+£.«-.

F&Eft^iStf

« -- fe •?.' t .,.

r r p •• .t|:i^:il rf •

]?ormation; Circle *of couples, all facing center, lady on gentleman's right, hands joined

All slide 8 steps tp left, then 8 s^teps to right, one t * step per beat of"" music. ,

All take 3 steps to center, stamp on fourth step, then all take 3 steps back to place and stamp on 4th beat. Repeat this part once- more/ »''..* iace partners, j*oin hands, arms extended at shoulder height. Take 4 slow "step-draw" steps sideward to the center (step-close, step-close, etc.) lowering and raising extended arms as you do so. Repeat backward - to original position. Then take 2 step-draw steps toward the center and back to place as before.

Partners face each other, placing right hand at each other's waist. With left hand in ait, turn in place

• with 8 light running steps. :

Repeat entire dance as long as desired. :

44 B0LKSOMG

JACE WAS EVERY INCH A SAILOR - Maritimes

n CH ^^ ^F? gajjj-f

* *

t^fej jz -.--*—•-

CbcYJS '-

j T,sU^ f -o ifeteSirf ^ e J#^^i -o'

Now 1 twas tfaenty-five or -thirty years since Jack first

• saw the light. ... He came intro this world woe one dark and stormy of : " '- - : .'.' night'. . He was born on "board his father's ship as she was

: ' jying to:; 'Bout twenty-five or: thirty miles southeast/of Bacaliei:

;-.. • Chorus: . ,_._ Jack was ev'ry inch a sailor,

Fi^re and twenty ; years a whaler, - . . . " .

*»5 Jack was ev'ry inch a sailor,

He ^ was born upon the bright blue sea.

When' Jack grew up to be a man, he went to the Iabrador He fished in Indian Harbour, where his father fished before ; [

Gib iis. returning : in the fog, he met a heavy gale, And:- 'Jack- was swept into the sea and swallowed by a whale

Chorus : -

The whale went straight for Baffin's Bay, about ninety knots an hour, And every time he'd blow a spray, he'd send it in a shower. "0, now," says Jack unto himself, "I must see what

. he's at out He caught the whale all by the tail and turned him

inside out . . Chorus : Jack was ev'ry inch a sailor, 'Five and twenty years a whaler, Jack was ev'ry inch a sailor, He was born upon the bright blue sea. ,

mum

WHY WS SAY

Take a Sack Seat - We tell someone to take a. back, -seat when we want him to let others, do the work. The expres si on began in England where those- members "of parlia- ment who belong to the majority get the front seats and those in the minority are left with the back seats

Ring Leader --/The ring leader is usually a person with bad intentions, according, to popular usage. But the name started with dances, where the ring leader was merely the person who rang a bell to begin a new dance,

Porterhouse Steak - This choice cut of beef got its name from the place where it was traditionally served. In the early days of New York City, this cut of beef- steak was quite often served in taverns where porter (a very dark brown beer) was sold.

Go Scot Free - Although this expression is often used today, few people know its origin. In the early Eng- lish language , Sc ot was the word for tax. Thus, one who went Scot free got off without paying taxes.

Shake Hands - When we shake hands today, it is a sign of friendship. Originally shaking hands was a precau- tion used so that each person would be sure that the other was not reaching for his sword with his right hand. ^7

...... RIMMBER?

..•when the barber "used to part men's ha

.•..when kids ..." used to" fling 'sticks tip into chestnut trees to bring down- the chestnuts? ....when folks jacked up their car and left it standing onriblocks through .the winter? ....when Mom woiild hang the rugs out on the clothes- line and beat the dust out of 'em with a wire beater? ..».when- school blackboards were black - not green?

. . . .when Mom got up at 6 on Monday morning and spent the morning sloshing the family wash up' and down the zinc ridges of a wash board? ....when bow ties had to be tied? ....when studio portraits of Mom and Dad showed Dad sitting stiffly on a chair With Mom standing beside him, her hand on his shoulder?

- TONOUE TWISTERS

Sheep shouldn't sleep in sheds

The seething sea ceaseth

Should Silly Sally show someone .her shining silver shilling?

Seven shy soldiers salted salmon shoulder to shoulder

The only oil Earl spoils is the early .Oil

Five frozen fish filet of fish were fried ,

Nancy knitted natty bit-mats for kna&ck-knacks

Snails slowly sneak up slippery celery stalks ,

Double bubble gum bubbles double barring trouble

Six happy misses mixed kisses with hisses ^8 And here's one from a half century ago: Three gray geese in a green field grazing - gray wore the geese and green was the grazing.

Try saying "Brobdingnagian" after your fourth martini. Or try' saying it fast while you're plain sober!'

VERSE!

I liked his speech,' It pleased me vastly Especially when He said, "And lastly -B

They say I'm stupid they say I'm dumb In crowds they overlook me. It's worth it since I'm never asked Torse rye on a committee.

A Caller's Square

Allemande left, go Down the Lane Meet your honey for a Daisy Chain Half square thru anc Cross trail too, Swing the girl who's, facing you. Now allemande R, your steps in time It's a hell of a dance But it sure does rhyme 1 (B.W.)

Whiskers on the Well, "Doctor"? . He's dignified (P.P..) And not Fidel. .

I'm swinging, one swee,.t, darling, Her husband's 6 feet tall,

. And Page spouts out. .this message . "Kiss her quick, or not at all!" (P.P.) ,

SQUARE mucs -H

The Inn at East Hill Farm, Troy, New Hampshire, announ ces a "COUNTRY SQUARE I&NCE I£3E»ID, April 7, 8, and 9 with Ralph Page calling and leading" •

Here is a wonderful, fun-filled weekend for all square dancers, old-timers and beginners alike. With Ralph Page instructing and calling the figures, and with all the fine facilities of the Inn, plus the D3LICI0US COUNTRY STYLE M£AI£, and a happy congenial group, you are sure to enjoy yourself.

In addition to square, contra » and folk dancing there is planned a "SUGAR ON SNOW PARTY" , a "COUNTRY AUCTION" (please sonate something for Raloh to auction off; benefits to the Scholarship Fund of the Folk Danne Gamp), and all the Inn's facilities including the SKI TOW, and INDOOR K31T3D SWBMNG- POOL, recreation room, and lounge rooms.

Rates: &25,QQ per person includes everything. Double rooms, plus the delicious meals and evening snacks dances and instruction, plus all facilities, The Inn at -ast Hill Farm is the scene of the annual New Hamp- shire Folk Dance School each September.

Please make reservations early. Write or phone Parker Whitcomb, Host, for further information or reservations. Troy, N„H. phone Circle 2-6^95

The Inn at £&st Hill Farm is located two miles off route twelve, 72 miles from Boston, 96 from Providence, 80 from Hartford and 204 from New York. Bus from Park Square, Bos ton. (Vermont Transit), trains from N.Y. at 2ast North-field, I-iass., Mohawk and Northeast Airlines at ICeene, N.N, Please notify us if you wish to be met. FOOD FOR A

WJNTHJ? DAY

This is the time of year and the right kind of weather to try a Yankee's .soul! What with the thermometer fail ing to get much over twenty degrees in the middle -of the day and flirting with twenty below zero night after night, it's enough to make a body wish he was anywhere- else but where he was. ' Dne way to brighten -up your life, and help survival to warm weather is to have •your wife prepare a few extra special dishes for a few of your suppers. Here are- some that the cookbook says ; are "sure to bring new excitement and pleasure to- your family table" . Just how much' excitement and pleasure they bring depends sort of on your Own particular mood following a cursory. look at the thermometerl

' • • • - • - . AIMDIO-SHRIMP CASSEROLE -

1 5 oz. package, precooked 1 teaspoon salt rice (lj cups) 2 to 3 dashes pepper sauce

2 cups cooked frozen or. tjjr cup cornflakes slightly

•fresh shrimp... crushed - . 1 can cream of celery soup l/3 cup chopped^ blanched 1 cup milk & teas teal almonds.'.

1- tblsp shre.eded onion ..... 2 tblsp butter or margarine 2 tblsp chopped parsley

Prepare rice according to directions on package. . Com- bine .with cooked, shrimp, soup, milk,- onion, parsley, and seasonings. Turn into a 1^- quart casserole.. Com- bine remaining ingredients, and arrange -in border on 51

top. Bake In a 375-

TTMA JAPAETSE STYLE

1 small onion .1 tblsp cornstarch ^ large green pepper 2/3 cup chicken bouillon 2 stalks celery 1 tblsp soy sauce l/3 cup almonds 1 can Chow Mein noodles 1 7 oz can tuna fish 2 tblsp butter 2/3 cup bean sprouts

( drained;)

Chop onion and green pepper fine; chop up celery (not too fine). Toast and sliver almonds, drain tuna and break up into fairly large pieces. Now melt butter in frying pan and brown the onion and pepper. Then add tuna, and cook 3 minutes. Next add celery and bean sprouts. Mix cornstarch with chicken broth and soy sauce, and stir it in. Cook another 15 minutes, stir- ring frequently. Pour onto hot platter over noodles and sprinkle with slivered almonds.

CREPE

And a French-Canadian neighbor swears that this is his favorite breakfast dish.

ilk cup of cold water 1 egg 1/3. cup of flour dash of salt

The mixture is beaten to make a lumpy batter. This amount will be enough for a ten-inch fry pan. The secret of crepe is in the way that it is cooked. It must be cooked in hot fat, lard, or Crisco, which must be smo- king hot. Put enough fat iy. the pan so that it will be about a quarter of' an inch deep. When the fat starts

5 '

WANTED

COPIES OF OLD RECIPE BOOKS, THE PRIVATELY PRINTED ONES, GATHERED TOGETHER BY LADIES' AID GROUPS, RE BECEAHS, GRANGES, CHURCHES, ETC. also POLK TALES mm ALL SECTIONS OP THE UNITED STATES PUBLISHED BY THE SAME OR SIMILAR GROUPS and ,... DON'T THROW AWAY YOUR DLD DANCE AND PESTIVAL-PR.1- GZIAMS OR CONVENTION PROGRAMS. SEND -THEM TO ME, r.I- COLLECT THEM, AS A PART OP A RESEARCH PROJECT I'M WORKING ON

Send to

Ralph Page, 1$2 Pearl St. Keene, N.H.

000000000000000

NORTHERN JUNKET

Vol 7 No 3

Two dollars and a half per 12 issues

Single copies @ .25^ each

Edit or Ralph Page

Polk Dance Editor: Ted Sannella

Correspondents Rich Cast :ie Hugh Thurston Herb Warren January 1^61 50 Musical Mixers - $1,00 by Ray Olson

Musical Mixer Fun - $1,00 "by Ray Olson

Fplk Dancing For Fun - 5^ by Jane Farwell

Dakota Square Dance - $1,50 by J. Leonard Jennewein

Yranjanka - SI, 00 the Dick Crum Songbook, woris , music, guitar chords

One Hundred and One Singing Calls - $2,00 by Frank Lyman, Jr.

5 Years of Square Dancing - $2,50 compilation of squares in Sets In Order

New Hampshire Camp Notebook - $2,10 200 dances - square, contra, folk, folk songs

- New " England Contras & Town Hall Squares $1,00 by Ralph Page, dances taught at College of the Pacific, Folk Dance Camp

COMPLETE Y0HR FILJI OF NORTHS^ JUNKET we have many of the back issues at .30^ each..

Order any of the above material from:.

Ralph Page 182 Pearl St. Keene, N,H» J -ri

a\MMUA NHW ENGLAND FOLK FESTIVAL h\ARCr\ 3.4.^5.1961

s COUS£NS G (h\ Wis university h\ED?ORD, mass, sunadu% lA/o'iksko,

/- , With (^audreau ~ -nBremer Crrum